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<I>Istana Kecantikan</I>: the First Indonesian <I>Gay</I> Movie

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<I>Istana Kecantikan</I>: the First Indonesian <I>Gay</I> Movie Istana kecantikan: the first Indonesian gay movie1 Ben Murtagh Abstract: This article discusses the first Indonesian film to deal with specifically gay rather than waria (male to female transvestites) subjectivities. The 1980s was a period that saw growing public consciousness of the gay subject position, and the release of this film in 1988 may be seen as the first cinematic attempt to react to this new level of awareness. For this reason, it can be argued that the film says as much about Indonesian perceptions of the gay world as it does about the reality of life as a gay man in Jakarta. The movie has been criticized for its pessimism and negativity regard- ing the portrayal of gay life in Indonesia, the main character being imprisoned for murder in the final scene. This stands in contrast with more upbeat representations in the recent film, Arisan. How- ever, despite a generally pessimistic ending, the film’s portrayal of homosexuality is perhaps more complex, particularly with regard to how family, friends and even psychiatrists relate to the principal gay character. This article argues that rather than the lead char- acter’s homosexuality being the reason for his eventual demise, it is his perceived hypocrisy that leads to his ultimate incarceration. Keywords: citizenship; homosexuality; queer cinema; Indonesian cinema; Indonesia Homosexuality and cinema in Indonesia The release of the film Arisan (The Gathering, director Nia diNata, 2003) was accompanied both in Indonesia and internationally by news- paper reports that focused on the fact that among other groundbreaking 1 Thanks are due to Rachel Harrison, Chris Berry, Tom Boellstorff and to peer reviewers for South East Asia Research for their comments on various drafts of this article. I am also grateful for the suggestions given by my colleague Sallehudin bin Abdullah Sani regarding translations. Finally, I would like to express my gratitude to the actor Mathias Muchus for answering my many questions regarding the making of the film. South East Asia Research, 14, 2, pp. 211–230 212 South East Asia Research issues, the film included Indonesia’s first gay2 kiss on the silver screen. While there were some reports of negative reactions from audiences, the film was generally well received, with critics and filmgoers noting the positive portrayal of the two main gay characters, Sakti and Nino. The overall message was to ‘be yourself’ and, among other plotlines, the audience followed Sakti as he overcame his struggle with his own sexuality. The film ends with Sakti and his lover Nino accepted as a couple by Sakti’s family and friends. On its release, the film attracted attention both in Indonesia and internationally. Articles and reports in the Indonesian media continue to refer to the film due to the groundbreaking issues it tackles. Rarely is it mentioned, however, that around 15 years previously, the issue of homosexuality had been the central theme of an Indonesian film, Istana kecantikan (The Palace of Beauty, director Wahyu Sihombing,3 1988). The Palace of Beauty,4 while re-released in VCD format in the late 1990s,5 remains fairly inaccessible. It is difficult to find copies of the film in Indonesia today, and few Western libraries hold copies. What is more, the film is not subtitled. Thus, with the aim of bringing this important film to the attention of those working in the field of queer cinema in particular, and South East Asian cinema more generally, this article will not only present a certain amount of empirical information regarding the plot and content of the film, but will also analyse some of its key themes and ideas. 2 Following Boellstorff (2005, p 8), I recognize the Indonesian terms gay and lesbi to be distinct from the English ‘gay’ and ‘lesbian’. The Indonesian term, normal, which is used by gay and lesbi Indonesians, refers to dominant understandings of modern sexuality (Boellstorff, 2005, p 8) and should similarly be seen as distinct from the English term ‘normal’. 3 Wahyu Sihombing (also sometimes spelt Wahyoe) was born in 1932 in Tapanuli. Krishna Sen writes that Sihombing, along with several other of Usmar Ismail’s associates, was in America in the late 1950s and early 1960s (1994, p 38). Istana kecantikan was his last film. He also directed Penginapan Bu Broto (1987); Gadis hitam putih (1985); Gara-gara isteri muda (1977); Gersang tapi damai (1977); Rahasia seorang ibu (1977); Cinta abadi (1976); Last Tango in Jakarta (1973); Mutiara dalam lumpur (1972); Akhir cinta di atas bukit (1972); Matinja seorang bidadari (1971); Disela-sela kelapa sawit (1967); Impian bukit harapan (1964); Ballada kota besar (1963); and Tjita-tjita Ayah (1960) (Kristanto, 2005). The current author has not seen all of the above films and has therefore chosen not to translate their titles into English. 4 This translation of the title follows the film itself, in which the salon has the English name ‘Palace of Beauty’. 5 The current author has had access to the film only in the form in which it was released as a VCD in 1997 by PT Tobali Indah Film. Mathias Muchus confirms that several scenes in the film were censored by the Indonesian authorities prior to its original The first Indonesian gay movie 213 Many of the reviews and reports on the film, The Gathering, which tended to focus on the story of the first gay kiss, made the point that it represented a serious change from films that had gone before. An Associated Press report by Lely T. Djuhari (2004), which appeared on a number of online news sites, stated that ‘before Arisan, homosexuals were typically portrayed in an unsympathetic light in Indonesian cinema’. The reporter went on to cite The Palace of Beauty as an example of an unsympathetic portrayal of homosexuality. Djuhari also mentioned the more recent Kuldesak (Culdesac, directors Nan Triveni Achnas, Mira Lesmana, Rizai Mantovani and Riri Riza, 1999), which she noted that, despite a generally more positive presentation of gay men, nonetheless depicted them as being ostracized by their community and beaten up by neighbours. In an interview in 2005, Joko Anwar6 noted that prior to The Gathering, The Palace of Beauty had raised gay issues, but that it was very pessimistic. He stated that the film showed gay life as people suffering (sengsara) and crazy (sakit jiwa). Despite its apparent historical importance, it seems that The Palace of Beauty is in danger of remaining a film that is at best occasionally mentioned in passing, but never discussed in depth. While The Gather- ing and Culdesac have received a reasonable amount of attention both in academic writing and in the media (see Boellstorff, 2005; and Budiman and Chudori, 2003 on the former; see Clark, 2004; and Kristanto, 2004, pp 175–179 on the latter) it is notable that The Palace of Beauty is not referred to at all in either of the main studies on Indonesian cinema that have been published subsequent to the film’s production (Heider, 1991; Sen, 1994). Likewise, Tom Boellstorff’s authoritative and most wel- come publication, The Gay Archipelago; Sexuality and Nation in Indonesia, makes no mention of the film. It seems that the film did not attract a great deal of attention in the cinematic release (private interview with the author, 7 April 2006). It is notable that the cover of this VCD includes the statements ‘Religion finds fault in them, society denies them, they themselves don’t want it to happen, so who is wrong?’ (Agama mempersalahkan mereka, masyarakat mengingkari mereka, mereka sendiri tak ingin itu terjadi, lalu, salah siapa?) As should be evident from this article, there is almost no mention of religion in the film, and very little rejection of the gay characters by society. 6 Joko Anwar is co-writer of the screenplay of The Gathering, and has recently directed the film Janji Joni (Joni’s Promise, 2005). 214 South East Asia Research written media even when it was released in 1988.7 It did win an award for best male actor at the 1988 Indonesian Film Festival,8 but was largely eclipsed that year by the success of Tjoet Nya’ Dhien (Tjoet Nya Dhien, director Eros Djarot, 1986), which won eight awards. While several articles in the Indonesian weekly Tempo were dedicated to Tjoet Nya Dhien (12 December 1988; 31 December 1988), The Palace of Beauty was only mentioned in those reports that covered the Film Festival as a whole. Even these comments are mainly related to the fact that Mathias Muchus had finally won an award for his acting after dis- appointment in previous years. Budiono Darsono (1988) reported in Tempo that: ‘In the role of a gay man, Muchus gave a dazzling performance. He entered completely into the life of the gay community in order to understand the situation. He studied the style of talking, the way of thinking, and everything which is related to the homosexual com- munity through books, “It was like I had become truly gay” he said. “Now, OK, not any more.”’9 7 Mathias Muchus states that the film was popular at the time, playing in cities throughout the archipelago. He also said that the film was watched particularly by gay men and also by waria (private interview with the author, 7 April 2006). 8 In addition to the award for best male lead that went to Mathias Muchus, The Palace of Beauty was nominated for the categories of best film, director, female lead (Nurul Arifin) and screenplay (Asrul Sani) at the 1988 Indonesian Film Festival (Kristanto, 2005, p 310). The film subsequently featured at the 17th Festival des 3 Continents in Nantes in 1995.
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